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-Courtesy The Arts Club of Chicago 

The Arts Club of Chica 



WITH the formal opening of the hand- 
some rooms of the Arts Club early 
in the winter, another milestone was 
passed into the wider vistas of an appreciation 
of the fine arts in the middle west. Not only 
Chicago, but the suburbs and smaller cities 
tributary to it, are brought within the circles 
of its advantages, and already artists of na- 
tional and international repute journeying 
across the country have discovered that here 
is an open door to congenial associations. 

Chicago society interested in the Artists' 
Guild had awakened to the needs of an arts 
club, where painters and sculptors, connois- 
seurs and patrons could meet on a common 
ground. And beside the long established Chi- 

cago Society of Artists there was rising an- 
other company of younger painters pi the lei- 
sure class, traveled and cultured and in sym- 
pathy with the more radical phase of art. 
There is also an increasing number of collec- 
tors of antiquities and patrons of the arts, 
larger in fact than the average citizen dreams 
of, and with these a growing society of those 
who take pleasure in meeting others interested 
in various avenues of artistic expression. Here 
then were all the elements to start an arts club 
on a prosperous career, and the beginning be- 
ing made, the future is most encouraging. 

As becomes its importance, the Arts Club 
chose its home on Michigan avenue. Numer- 
ous members being associated with the Artists' 




By Anna Lee Stacey — Courtesy The Arts Cluh of Chicago 


By Harriet Blackstone — Courtesy The Arts Cluh of Chicago 

Guild in a professional way or as pa- 
trons, that organization united with it 
to take charge of its exhibitions and 
thereby it was possible to secure valu- 
able space, with a private entrance from 
the street, and an elevator service of its 
own, in the annex of the Fine Arts Build- 
ing in the heart of artistic activities down 
town. On the street are the show roorns 
of the Artists' Guild exhibiting what 
painters, sculptors and craftsmen of the 
section are doing, above is the picture 
gallery, and the Arts Club members take 
their elevator to the 'fifth floor given over 
entirely to their uses. 

Few who attended the exhibition of 
paintings by John Singer Sargent and 
Henry Golden Dearth that celebrated the 
opening of the club rooms, will forget 
the charm of the decorations and the 
atmosphere created by the color scheme 
and tasteful arrangement of furnishings. 
The tones of the' walls, the design of tap- 
estries and simple furniture, the fabric 
hung before the windows to exclude the 
glare of light from Lake Michigan, all 
united in a pleasant effect. The room 
with its great windows facing the ave- 
nue is really the Arts Club Lounge^ back 
of it is the tea room reminding one of 
a quaint out-of-doors cafe abroad, and, 
accessible by means of the corridor and a 
small door, are the two galleries, just 
large enough to hang a reasonably sized 
collection, with more wall space in the 
corridor should an overflow demand it. 

At its opening nearly 300 men and 
women had paid Arts Club dues from 
May, 1917, for the following year. The 
practical ideas which engaged the build- 
ing, furnished the rooms and put exhibi- 
tions under way at once, met the require- 
ments of common sense asked by the 
business men interested. No strict by- 
laws bound them to one line of conduct. 
Whatever fixed policy is finally to be 
printed must first be worked out to suit 
the democracy of the organization. The 
value of the Artists* Guild was recog- 
nized, yet the Artists' Guild had rules of 



its own, hence it was decided . to 
make an agreement whereby the 
Guild and Arts Club could work in 
unity, one help the other and yet be 
independent of each other. 

The Artists' Guild had its office 
force for cataloging, shipping and 
hanging exhibitions. It understood 
practical business procedure. 
Therefore it was asked to conduct 
the exhibitions of the Arts Club, 
and Mr. Ericson and his staff of 
custodians from the Guild ap- 
pointed to the responsibility. Dur- 
ing the preceding year, the Guild 
had about 200 active artist mem- 
bers and had doubled its business. 
These members were invited to 
joint the Arts Club without initia- 
tion fee, the annual club dues giv- 
ing them all the privileges of the 
association upstairs. On the other 
hand, members of the Arts Club 
were admitted to the privileges of 
the Guild without more expense, an 
amicable arrangement workhig for 
good in both societies. Artists en- 
joy the companionship of amateurs 
and social friends in the Arts Club, 
and non-professional members of 
the latter feel a loyalty to the Guild, 
its workers and its fine arts shop, 
and help to promote its business 

In the short period of its career 
a series of attractive collections, 
and social events with distinguished 
guests, have kept the Arts Club be- 
fore the public and drawn members 
to its ranks. 

Among the founders are women 
members of the Antiquarians at the 
Art Institute, and private collectors 
whose acquisitions are better known 
in New York, Paris and London 
than in Chicago. It is due to these 
that rare bits of old Chinese porce- 
lains, Persian paintings, and valu- 
able pieces of bric-a-brac are shown 
from time to time. Too much can- 



PEACE By Lucie Harirath — Courtesy The Arts Club of Chicago 


By Charles Francis Browne 

WINTER,— CALUMET, MICHIGAN By Josephine L. Reichmann 



OZARK ZEPHYRS (Awarded Englewood Prize, Art InstiUite, 1915) 
By Carl R. Krafft — Courtesy The Arts Chib of Chicago 

not be said of the generosity of Mrs. Chauncey 
J. Blair, who loaned her Persian collection and 
whose Chinese paintings and drawings are 
now on exhibition in the Lounge of the Arts 

Following the paintings of Mr. Sargent and 
Mr. Dearth, both loan collections, came a 
startling modern exhibit of figure paintings 
and various subjects by Mr. Henri, Mr. Sloan 
and Mr. Bellows. At the same time, dry 
points with color done by Miss Mary Cassatt 
were hung in the corridor of the Arts Club, 
where later the Chicago Society of Miniature 
Painters held its successful exhibition closed 
in January. . 

The Chicago Society of Minia- 
ture Painters, many of whose mem- 
bers belong to the Arts Club, in- 
vited some eastern exhibitors to 
the best show it had given in its 
history. The Arts Club prize was 
won by Miss Anna Lynch by popu- 
lar vote. Rarely has a show of 
eighty-eight miniatures exhibited 
better'woirk or more beautiful sub- 
jects and the Other painters repre- 
sented were Carolyn Tyler, Kather- 
ine Walcott, Margaret Kendall, 
Alice E. Ludovici, Bertha Perrie, 
Lucy M. Stanton, Margaretta 
Archambault, Rosina C. Boardman, the willows 

Kate Bacon Bond, Mary Hess 
Buehr, Berta Carew, Eda Nemoeda 
Casterton, Allen S. Howland, 
Magda Pleuermann, Marian Dun- 
lap Harper, Hariette Draper Gale, 
Bernice Fernow, Ethel Coe, Plelen 
W. Durkee, Bertha Coolidge, Eliza- 
beth F. Washington, Emily Dray- 
ton Taylor, Eva Springer, Edith 
Sawyer, Edna A. Robeson, Kather- 
ine Mclntire, Nicolas S. Macsoud 
and Evelyn Purdie. 

The professional members of the 
Arts Club made their first public 
appearance in an exhibition in mid- 
December. Painters and sculptors, 
the former in the majority, seventy 
in all, exhibited as many works of 
art. To give zest to the event, a 
popular vote was asked to award the prize of 
$ioo to the best work and a second prize of 
$50 for the next counting of votes in order. 
A portrait, Mile. Delanoir, by Cecil Clark 
Davis, was fortunate in receiving the larger 
number of ballots and the first prize, and 
''Polly," by Abram Poole, had the next choice 
and second prize. 

The size of the galleries excluded very 
large canvases, hence there was a great va- 
riety of companionable little pictures. Among 
the portraits should be named that of a child 
(loaned by Mrs. Blair) painted in pastel by 
Virginia Keep Clark. ''Andrew McLeish," 

By Frank V. Dudley 



by Harriet Blackstone, was the best por- 
trait of a man ; a dignified "Portrait" of 
a woman was contributed by the presi- 
dent of the Arts Club, Grace Farwell 
McGann, and there was a clever "Sissy" 
by Anita Willetts Burnham, a full length 
picture of a young woman, "Jeannette," 
by Frank A. Werner ; 'The Black Hat," 
by Paul Bartlett; "The Blue Coat," by 
Joseph P. Birren; portrait of Florence, 
by Minna Hoskins ; "A Thoughtful Mo- 
ment," by Clara J. Kretzinger; "Louise," 
by Florence I. Schoenfeld; "A Morning 
Caller" (a most delightful picture of a 
child), by Mrs. Anna L. Stacey; a por- 
trait of E. S., by Edna Sterchi, and a 
graceful miniature sketch, Miss Ruth 
St. Denis, by Carolyn D. Tyler. In view 
of the facts that the big autumn show 
at the Art Institute was just over, that 
the Artists' Guild was opening a Christ- 
mas exhibition, that the Chicago Society 
of Artists was to come and eastern ex- 
hibitors were making demands, it was 
interesting to find so intimate a gathering 
of works. 

Echoes of the summer could be traced 
in certain qualities, such as the sunlight 
and radiance to be found in the brilliant 
canvas "Sunshine," by Pauline Palmer, 
and "The Crowded Shore," by Beatrice Levy, 
who had been at Provincetown. Edward B. 
Butler's "Restful Day" lived up to its title in 
the feeling of repose. "Lily Lake," by Wal- 
lace L. De Wolf, is a veritable color poem and 
reminiscent of the painting regions not far to 
the north of Chicago. The romantic region of 
Ephraim on Green Bay was the inspiration of 
John F. Stacey's characteristic glimpse of 
shore and the waters, and from Edgar S. 
Cameron came a marine as fascinating as if 
from Italy itself but "Ephraim Bay," "The 
Glow of Sunset Skies" from Arcadia in the 
Ozarks is one of the excellent summer can- 
vases painted by Carl Krafft in that painter's 
paradise. Then from the southwest are "The 
Indian Madonna," a most effective figure 
painting, by Walter Ufer; "The Purple 
Prince," by Victor Higgins, and "liermit 
Mountain, New Mexico," by Royal Hill Mille- 


By Ethel L. Coe — Courtesy The Arts Club of Chicago 

son ; "Valley of the Silver Mine," by Dorothy 
V. Anderson; "Afternoon," by Jessie Benton 
Evans ; "Charcoal Steamers," by Robert Graf- 
ton; "California Rocks," by Edward J. PIol 
slag; "L'Apres-Midi," by Gerald A. Frank; 
"Matinee at Ravinia," by Frederic M. Grant; 
"Afternoon Sun," by Marie Blanke, and 
"Midsummer," by Margaret Baker, are each 
to be noted for particular merits. 

"Sweet William," realistic and gay, by Al- 
son Skinner Clark, was a surprise in flower 
painting. "Joy," by Ethel L. Coe ; "A Silvery 
Dell," an idyllic child picture by Adam Emory 
Albright ; "Glen-mere," by Joseph Elliott Col- 
burn ; "The Poplar," by Oliver Dennett 
Grover, and "October," by Charles Francis 
Brown, must be counted among the best works 
contributed by well known artists. 

Among the landscape painters the memor- 
able canvases "Winter," by Alfred Jansson; 



By Frank A. Werner 

By Cecil Clark Davis 

— Courtesy The Arts Club of Chicago 

"A Morning in Spring," by Alfred Juergens; 
'The Meadow Pool/' by Wilson Irvine ; "The 
Lagoon/' by H. Leon Roecker; "Golden Au- 
tumn/' by Joseph Reichmann; "Springtime/' 
by A. H. Schmidt; "Old Basin/' by Louis O. 
Griffith; "The Creek/' by Lucie Hartrath; 
"November/' by Conde Wilson Hickok ; "The 
Drinking Trough/' by Edward Ertz, and 
"Evenglow/' by Frank V. Dudley; "A Pine 
Tree/' by Allen Philbrick, and "When the 
Crickets Sing/' by Edmund P. Kellogg, indi- 
cated that the supporters of the Artists' Guild 
and the Chicago Society of Artists were not 
wanting in adding their strength to the pro- 
fessional background of the Arts Club. From 
abroad Carl N. Werntz sent "After the Camel 

Race, Biskra" ; Miss Katherine Wolcott, 
"Porthmeor Square, St. Ives"; George J. 
Seideneck, "The Goat Plerd of Calabria"; 
Anna Lynch, "Church Interior, St. Etienne, 
Paris"; Charles S. Dewey, "The Trendelen- 
berg," and Edmund S. Campbell, "Fountain, 
Alhambra," from his summer in Spain. Then 
we find noted on the catalogue an apprecia- 
tion for the canvases of F. M. Guthridge, O. 
Irwin Myers, Mary M. Wetmore, Ella Hough- 
telling Tanberg, Allen Swisher, Gertrude 
Spaller, and Lawrence Buck.. Nancy Cox 
McCormack's "Clay" and Erma G. Buck's 
portrait head were welcome sculpture addi- 
tions to the show. 

To anyone familiar with the personality of 




— Courtesy The Arts CluT) of Chicago 

the art world which has created a local fame, 
the names repeated above are significant of the 
support given the Arts Club by those who are 
best qualified to make it a success. But few 
artists are missing. The portrait painters in 
particular do not always have canvases to lend 
and the recent formation of the club and the 
idea of a members' display gave little time for 
the assembly of important pictures. 

The twenty paintings by Charles W. Haw- 
thorne loaned by the Boston Museum of Fine 
Arts, the Detroit Museum, . the Syracuse 
Museum of Fine Arts, the Albright Art Gal- 
lery, and by private collectors marks the cli- 
max of the season at the- Arts Club in its con- 
tribution of interest to the art world of Chi- 
cago. They are all valuable canvases pre- 
senting Mr. Hawthorne at his best and the 
painter himself has been a guest at the club. 

In this brief survey of aims and accom- 
plishments it will be seen that the Arts Club is 
not only filling a long felt want in our artistic 
life, but is creating new avenues for artistic 
expansion. Its exhibitions of the works of 
Mr. Sargent, Mr. Dearth, Mr. Henri, Mr. 
Sloan, Mr. Bellows and Mr. Hawthorne have 
presented interesting latter day phases of 
American genius. The professional members' 
gathering of works permitted laymen to meet 
the artists that were among them, the hanging 
of Mrs. Blair's rare collection where art lovers 
congregated at receptions and for the Friday 
teas, introduced the beautiful in the older arts 
on a familiar plane where the viewer could 
learn their charm, and so on, in a many sided 
way the Arts Club spirit is working out to- 
ward a socializing of the fine arts in Chicago 
creating an appreciation and promoting a 
growth of the professional class.